07/23/2026
The Tour de France always brings us back to one of the most interesting shoots from Matt’s Nike days.
Years ago, around the Olympics, Matt was involved in a project connected to Lance Armstrong and the world of elite cycling. His legacy is complicated, and the damage he did to the sport is part of that story. But the creative experience still shaped how Matt understood cycling, performance, and the craft behind making an image feel alive.
What you see here was not CGI. Those speed lines were physical.
The process started with hand illustrations, moved into vector drawings, then shifted into small foam core models to see how the idea behaved in space. From there, the team built a full set inside the Mia Hamm building on Nike’s campus, eventually replacing the foam core with cut acrylic that was strung, hung, lit, adjusted, and studied until it created the right optical effect.
That kind of process still matters. We have extraordinary digital tools now. AI can generate a hundred directions before lunch. But practical effects carry a warmth that is hard to fake: the way light catches a real edge, the shadow you did not plan for, the small imperfection that makes the whole thing feel human.
The studio teaches you things the screen cannot.
It is a lesson we still believe in across design, packaging, retail, content, and brand work: make the idea physical as early as you can. Draw it before you render it. Cut it out before you spec it. Mock up the wall with blue tape. Build the ugly model. Move around it. Let the idea have a body before you ask the computer to make it beautiful.
The tools will keep getting faster. But speed is not the same as understanding. Sometimes the best thing you can do for an idea is slow it down long enough to touch it, test it, break it, rebuild it, and let the material push back.
That friction is not inefficiency. It is where the work starts to tell you what it wants to become.